South by Southwest 2018 is in the books, but we’re still reveling in the memories — and making playlists of all our new favorite music. Here, our Austin360 team shares some of their musical highlights and favorite images from this year’s March extravaganza. See all our coverage — including film, interactive and convergence tracks — at austin360.com/sxsw and 512tech.com.

Rapsody: “When they ask about Rapsody, don’t tell them I’m a female rapper,” the 35-year-old emcee said halfway through her set at the Belmont. “Don’t tell them I’m a female emcee. When they ask you about Rapsody, you tell them I’m a (expletive) beast.” It was a potent rallying cry, backed by the lyrically precise, viscerally raw verses she unleashed on the crowd in a 20-minute thrill ride of a set. While many rappers lean hard on backing vocal tracks, Rapsody performed all her verses live, at one point extending a track with an epic two-minute a cappella outro. This is her time, and she’s hungry. The unspoken subtext to her relentless performance? I’m coming for all y’all dudes.

Duckwrth: With a suave vibe, smooth moves and sexy dance grooves for days, the Cali rapper hosted a feel-good, funky throwdown. His summery hip-hop jams kept the crowd bumping and, in a testament to his skill as a true master of ceremony, he persuaded us to swivel our hips, sprinkle our fingers and hug a stranger before the whole thing was over.

The female future that’s already here: It’s been a strange couple of years for women, but SXSW 2018 was awash with talented young female artists raising their voices. From the Afro-futuristic rap of Oshun to the teeth-rattling guitar riffs of Bones UK; from the sophisticated pop of Billie Eilish to the avant soul stylings of Sudan Archives; from the protest punk of Pussy Riot to the jubilant Spanglish party jams of Amara La Negra, women at the fest refused to be sidelined. The future is female, and we should begin to believe in its brightness.

— DEBORAH SENGUPTA STITH

Daniela Simbageen of the group Papachina dances March 14 on Sixth Street during SXSW. Dave Creaney for AMERICAN-STATESMAN

American-Statesman staff

Superchunk: The North Carolina band helped get SXSW off to a strong start by coming in early for a full-on rocking Monday night show at the Mohawk. What made their visit really special, though, was a rare acoustic set the following afternoon at Waterloo Records, which packed the store to capacity. Creating Merge Records may end up being frontman Mac McCaughan’s greatest legacy, but a handful of appearances (Superchunk also played at the Main) proved he’s still writing great music himself as well.

Jade Bird: The 20-year-old British singer-songwriter was seemingly everywhere and probably stands a good chance of winning this year’s SXSW Grulke Prize for Developing Non-U.S. Act. There were lines out the door when she played her home turf’s British Music Embassy venue, and she delivered on all the hype with a great set, switching back and forth between guitar and piano for songs that ranged from contemplative to explosive. We came across her again at the Luck Reunion, wowing a crowd in the tiny chapel on Willie Nelson’s ranch.

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Jaimee Harris: One of Austin’s most promising young singer-songwriters is on the cusp of releasing a debut album that may well turn heads far beyond the region. Backed by five talented players who’ve locked in tightly to her songs thanks to valuable woodshedding at One-2-One Bar, Harris came across like a tour de force — sometimes full-throttle, other times pin-drop hushed, always engaging and leading with her innate sense of a strong melody.

Little Mazarn: Trawling down Sixth Street on Saturday night was an ordeal of dodging barricades and masses of partiers, but the reward was an upstairs hideaway where Lindsey Verrill and Jeff Johnston were playing some of the most fascinating music I heard all week. Thumping bass vibrations drifted up from the cacophony below, a surreal juxtaposition to the duo’s otherworldly blend of banjo, bowed saw, droning keyboards and Verrill’s vocals. The set was a perfect bookend to Monday’s Max Richter “Sleep” show at Bass Concert Hall: How grand it would have been just to line the whole room with mattresses and let these two play for eight hours straight as we drifted in and out of consciousness/reverie.

— PETER BLACKSTOCK

MEUTE, a techno marching band from Hamburg, Germany, performs March 13 on Sixth Street during SXSW. JAY JANNER / AMERICAN-STATESMAN

Jay Janner/American-Statesman staff

Boniface: One of the few “just for fun” gigs I caught this year, Canadian Micah Visser’s synth-pop band overcame a technical delay to pull out some unbridled joy at Blackheart. Big hooks and no fussy aesthetics. The set gathered people like a magnet for some nice guys having fun in a lil’ bar.

Japandroids: I called watching the Canadian anthem-punk two-piece “like riding a chrome-plated pterodactyl into hell.” I still haven’t left hell. Pterodactyl’s doing fine, thanks for asking.

Sylvan Esso: Singer Amelia Meath battled food poisoning but still played to the fans in the alley behind Lustre Pearl. An electric body-bounce made all the more sweet if you defeated the line into an at-capacity show.

Max Richter: An eight-hour overnight concert you listen to from an onstage bed is likely not an experience I’ll forget anytime soon.

Lucy Dacus: Watching Dacus’ rise since her Austin City Limits Music Festival appearance has been a privilege. That oceanic voice cleaved me in half at Stubb’s. She’s only getting better.

— ERIC WEBB

Little Joe y La Familia plays March 17 the Emma S. Barrientos Mexican American Cultural Center during SXSW. Tom McCarthy Jr. for AMERICAN-STATESMAN

American-Statesman staff

Rúben Blades: The Latin American music icon who revolutionized New York’s salsa music scene in the 1970s presented the debut of his documentary, “Rúben Blades Is Not My Name.” The film won an audience award, and Blades showed up at several screenings to chat with fans. Blades doesn’t typically share much about his personal life, so the film and his “In Conversation” interview during the fest let fans see a rare side of the artist. Some things fans might have learned about him: He’s earned two law degrees, he’s run for president of Panama, and he stars in “Fear the Walking Dead.”

Gato Preto: In all my years of attending and covering SXSW, I’ve never seen such an infectious dance party — even a security guard working at the venue felt compelled to let loose on the dance floor with festivalgoers. The German-based electronic group includes MC Gata Misteriosa, who grew up in Portugal and has roots in Mozambique, and producer Lee Bass, whose bicultural German-Ghanian background helps round out their high-energy multicultural sound.

Andrea Cruz: One of my favorite artist discoveries this year was this up-and-coming Puerto Rican singer-songwriter whose debut album dropped two days after Hurricane María. It wasn’t exactly the record release she had imagined. During an interview, Cruz shared how she traveled around the island to help with relief efforts, taking her acoustic guitar with her. She played for affected families in their front porches, helping them, she said, heal through music. Her set at SXSW’s first Sounds of Puerto Rico showcase was heartfelt musical magic.

— NANCY FLORES

Guitarist Mark Bowen and lead singer Joe Talbot of the band Idles play March 16 at Latitude 30 during SXSW. It was a night of “adrenaline-pumping joy,” according to our team. Tom McCarthy Jr. For AMERICAN-STATESMAN

American-Statesman staff

Idles leave ears ringing: The most intense show at SXSW 2018 might have been the back-to-back pairing of Toronto noise masters Metz and brutal Bristol punks Idles, whose on-the-floor set of moshing, screaming, spitting catharsis was unmatched. Sounding like Nick Cave meets Mclusky, Idles provided a night of gritted teeth and grins, bruises and bear hugs, anger and uplift, the primal and the progressive — an adrenaline-pumping joy the likes of which only visceral music can deliver.

Haley Heynderickx cuts through chaos with heart-crushing beauty: Listening conditions aren’t ideal at SXSW for an artist like Heynderickx, a soft-spoken singer-songwriter who sings about self-doubt, gardening, love and creatures from Miyazaki films. But the quiver in her haunting, honey-sweet voice paired with the shimmer of her fingerpicked Fender Telecaster strings was chilling and cut through the chitchat for one of the most moving bits of live music I’ve ever experienced.

Caroline Rose rises: The always-in-red Caroline Rose mixes rockabilly guitar and synths into irresistible earworms about serious subjects with screw-it humor and bluntness. Hers was the name I heard most when people discussed their favorites of SXSW 2018. Rose will be back in Austin twice before summer, so catch her now before she’s dominating the festival circuit next year.

Naked Giants have a good time all the time: Ripping through blazing-fast, high-kicking, loud and playful garage rock, Seattle trio Naked Giants might have been having more fun than anyone at SXSW, which is saying something since anyone fortunate enough to catch one of their many SXSW sets was surely having a blast.

— ERIC PULSIFER

Sudan Archives performs March 14 at the Austin Convention Center during SXSW. She was just one of the acts that showed the female future is happening now. JAY JANNER / AMERICAN-STATESMAN

Jay Janner/American-Statesman staff

Seattle hard rock quartet Thunderpussy unleashed vintage blues-rock riffs and raucous stage presence at Lambert’s Wednesday afternoon showcase.

DIY punk luminary Jeff Rosenstock tore through his highly political, hard-charging new album “POST-” during Thursday night’s Polyvinyl showcase at Cheer Up Charlie’s.

Atlanta sister duo Larkin Poe won over Keith Urban fans at Stubb’s on Friday night with their vamped-up blues jams, heavenly vocal harmonies and incendiary lap steel guitar solos.

— BRYAN ROLLI

Drab Majesty at the Holodeck showcase: Drab Majesty are from Los Angeles, and yet they also seem to be from somewhere beyond. Their cosmic post-punk blocked out the noise and chaos of SXSW; it made you float and forget your feet were aching badly. They’ve solidified as a touring act — this is their fifth performance in Austin since 2016. Trust me when I say they’re going to get huge.

Rae Sremmurd performing “Black Beatles” at SXSW Eardrummers Takeover: It’s “Black Beatles.” What more needs to be said?

Volur at Stoner Jam, Spider House: The Canadian metal trio had some unfortunate luck on the way to Austin: after a show in Lafayette, La., vocalist/bassist Lucas Gadke and violinist Laura Bates were leaning against a balcony when it gave way, leaving Gadke with a few broken ribs. It was looking dicey coming into SXSW, but they didn’t just play through the pain, they shredded, with Bates bringing metal energy with classical grace. An unusual set through tough circumstances.

Daikaiju at Lost Well: More often than not, you have to venture outside downtown for metal at SXSW, and Houston-via-Alabama quartet Daikaiju was one of the wildest performances regardless of genre. The whole venue was their stage, and that includes the audience — toward the end, people were holding the drum set so they could play standing from the bar. They all seemed to be at multiple places at once, and stressing over where to focus was actually kind of exciting. Also, every instrument had been lit on fire by the end of the set. The venue reeked of lighter fluid after, but it was well worth it.

— ANDY O’CONNOR